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Home , Heritage science, Paintings conservator

Author Biographies

Biographies are current as of the date of the symposium.

Maryan W. Ainsworth received her BA degree of the University of Pisa in Italy. She specializes in the from Oberlin College and her PhD from Yale development of analytical techniques for paint layer University. She is of early Netherlandish, characterization, including chromatographic and French, and German painting in the European mass-spectrometric techniques. Paintings Department at the Metropolitan of Art. In this position, and previously as Senior Łukasz Bratasz graduated in from the Research Fellow in the Sherman Fairchild Paintings Jagiellonian University in Kraków, Poland, in 1996 Conservation Center, she has specialized in the techni- and received a PhD in 2002 from the same uni- cal investigation of northern Renaissance paintings. versity. In the same year he joined the staff of the Ainsworth has lectured and published widely on her Institute of Catalysis and Surface , Polish work. Her writings include Petrus Christus: Renaissance Academy of (ICSC PAS). Since 2006 he has Master of Bruges (1994), From Van Eyck to Bruegel: Early been a research consultant to the National Museum Netherlandish Painting in the Metropolitan Museum of in Kraków. His research focuses on microclimatic Art (1998), and Gerard David, Purity of Vision in an Age monitoring, the dimensional response of materi- of Transition (1998). Ainsworth is adjunct professor of als, computer modeling of environmentally induced the of art at Barnard College and Columbia mechanical damage, and acoustic emission in wood University. At the time of the panels symposium, she and mineral historic materials. was involved in the preparation of the scholarly cata- logues of the Metropolitan Museum’s early German Ciro Castelli began work as a joiner in 1957 and pro- and Netherlandish paintings and an exhibition on gressed to the position of cabinetmaker for a private Jan Gossart. company. In 1966 he began restoring panel paintings and wooden structures at the state-run Fortezza da Guillermo Andrade is a restorer (Mexican School Basso in Florence, including paintings damaged in the of Conservation, 1986). He works at the Technical flood of 1966. Employed by the Opificio delle Pietre Department at SIT Transportes Internacionales, Dure e Laboratori di Restauro, Florence, between Madrid. 1972 and 2010 (where he was also a teacher from 1979 to 2008), he has been responsible for the restoration of George Bisacca is a conservator at the Metropolitan many masterpieces. Museum of Art in New York, where he has worked since 1983. He received training in paintings Anne Haack Christensen received a BSc in conservation at the Palazzo Pitti in Florence from ­painting conservation in 2005 and an MSc 1979 through 1983 under Andrea Rothe and Alfio Del in painting conservation in 2008 from the School Serra, and he specialized in the treatment of panel of Conservation, Royal Danish Academy of Fine paintings with Renzo Turchi and Giovanni Marrusich Arts, Copenhagen. Since May 2008 she has served of the Opificio delle Pietre Dure in Florence. as a in the Department of Conservation at the Statens Museum for Kunst, Ilaria Bonaduce is a postdoctoral Fellow at the Copenhagen, and is a project assistant for the Panel Department of Chemistry and Industrial Chemistry Paintings Initiative. 218

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Marco Ciatti obtained a degree in the history of Monica Griesbach, who is now in private prac- art in 1977. He has been an art historian at the tice in London, was previously the principal of Italian Ministry of Culture since 1980—first at Griesbach Studio LLC and Associate Conservator the Soprintendenza per i Beni Artistici e Storici in at the National Academy Museum in New York. Siena and then at the Opificio delle Pietre Dure and She received an MA in and an Advanced Restoration Laboratories in Florence, where he is Certificate in Conservation from the Institute of Fine now director of the restoration of easel paintings Arts, New York University. Griesbach has studied and director of the textile departments. He is also a with conservators in Florence and London, as well as teacher and has numerous publications to his credit. at the Metropolitan Museum of Art. She also holds a master’s degree in architecture and a certificate of Maria Perla Colombini is full professor of analyti- . cal chemistry at the Department of Chemistry and Industrial Chemistry of the University of Pisa Terje Grøntoft is senior researcher in the Depart­ in Italy and director of the university master in ment for Urban Environment and Industry at the Materials and Diagnostic Techniques in Cultural Norwegian Institute for Air Research. He earned a Heritage. She coordinates the research group of the PhD in chemistry from the University of Oslo, and Laboratory of Chemical for the Safeguard of his work focuses on the impact of air pollution at Pisa University and specializes in and climate on materials and cultural heritage. the characterization of binders, organic dyes, and var- nishes by chromatographic and mass-spectrometric Stephen Hackney is head of Conservation Science, techniques. Tate. He studied chemistry and physics at the University of Manchester (BSc Hons.) and earned a Janusz Czop is head of the Conservation Department postgraduate diploma in paintings conservation from of the National Museum in Kraków, Poland. After the Courtauld Institute of Art in London. He special- studying in the Restoration Department of the izes in gallery environments, preventive conserva- Academy of Fine Arts in St. Petersburg, Russia, tion, frame microclimates, and anoxic framing. he pursued postgraduate studies at Jagiellonian University in Kraków. He performs conservation Ingrid Hopfner is a conservator at the Paintings work on easel paintings, wood sculpture, and altar- Gallery of the Kunsthistorisches Museum, Vienna, pieces, and he specializes in icon conservation. where she has worked since 1990. She specializes in the treatment of panel paintings. Beginning in 1985, she Elin Dahlin is the director of the Department for studied at the Academy of Fine Arts in Vienna (Master Urban Environment and Industry at the Norwegian Class for Conservation and Restoration). Later, from Institute for Air Research. She has a degree in Nordic 1991 to 1994, she became a lecturer there. She has from the University of Oslo. also taught the conservation of panel paintings at the University of Applied Arts in Vienna (2005–7). José de la Fuente Martínez, who specializes in paint- ings on panel, has been a restorer at the Museo del Roman Kozłowski graduated in chemistry from the Prado since 1991. He studied at the Escuela del Museo Jagiellonian University in Kraków, Poland, in 1970. del Prado from 1987 to 1991. He holds a BA in geog- He received his PhD in 1974 from the same university. raphy and history from the Universidad Autónoma de Since 1986 he has been head of the research related Madrid and has a diploma in teaching. Since 1991 he to at the Institute of Catalysis and has worked with George Bisacca on some of the most Surface Chemistry, Polish Academy of Sciences in important works in the Prado and in other . Kraków. He has been principal investigator for several research projects of the European Commission. His Dimitri Galitzine is the director of Design research focuses on microclimatic monitoring, compo- Development Associates in New York. He has over sition and porous structures of historic materials, and thirty years’ experience in mechanical design, encom- their interaction with moisture. passing solid-modeling CAD-CAM-CAE, as well as ornamental and technical metal fabrication, restora- Łukasz Lasyk graduated in physics from the tion, and machine design and construction. He did Jagiellonian University in Kraków, Poland, in 2005. his studies at Stevens Institute of Technology and In the same year he became a doctoral student at the Pace University. Department of Physics and , AGH

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University of Science and Technology, Kraków. His the Soprintendenza Patrimonio Storico Artistico ed research focuses on the investigation of painted sur- Etnoantropologico of Bologna. faces by optical imaging techniques. Britta New initially trained in the conservation of Susana Lopez-Aparicio holds a PhD in geology easel paintings at Northumbria University, Newcastle- from the University of Huelva, Spain (2004), and she upon-Tyne. She went on to an internship at the specializes in petrology and geochemistry. Since Hamilton Kerr Institute, Cambridge, focusing on the January 2008 she has held a research position at the structural repair of wood panels, where she worked Norwegian Institute for Air Research. closely with Ray Marchant. In 2006 she began work- ing at the Royal , Windsor, and in 2007 Michał Łukomski graduated in physics from the she was appointed assistant restorer at the National Jagiellonian University in Kraków, Poland, in 1999, Gallery in London, where she works on both the and he received a PhD in 2003 from the same univer- structural conservation and restoration of paintings. sity. For the next two years, he was a research fellow at the Windsor University in Windsor, Canada. In Michal Obarzanowski is a technical conservator at 2006 he joined the staff of the Institute of Catalysis the National Museum in Kraków, Poland. His princi- and Surface Chemistry, Polish Academy of Sciences. pal duties include conservation of sculptures and wall His research focuses on the response of historic mate- paintings. rials to changes in environmental parameters and the investigation of painted surfaces using advanced opti- Marianne Odlyha has been manager of the cal techniques. University of London Service in Thermal Methods and Conservation Science at Birkbeck College since Ray Marchant has a background in design engineer- 1988. She originally trained as a solid state chem- ing, cabinetmaking, and furniture restoration. In ist. She specialized in pigment and binding medium 1989 he joined Simon Bobak at the London studio of characterization at the Doerner Institute in Munich the Hamilton Kerr Institute, where he works on the and was employed at the Courtauld Institute of Art in structural conservation of panel paintings. Since 1998 London from 1988 to 1989. he has been advising and teaching at the Hamilton Kerr Institute in Cambridge. Marchant, who has Antonio Ortega is Technical Department coordinator contributed to several publications, became a Fellow at SIT Transportes Internacionales in Madrid, where of the British Association of Paintings Conservator- he has worked since 1985. Restorers in 2002. Mervin Richard is chief of conservation at the M. Alan Miller, an assistant conservator at the National Gallery of Art, Washington DC, where he Metropolitan Museum of Art in New York, special- has worked since 1984. Richard completed his gradu- izes in the structural conservation of panel paintings. ate studies in conservation at Oberlin College in 1978. He received an MA in art history from the University He has since worked as a painting conservator at the of Washington, Seattle, and a postgraduate diploma Intermuseum Laboratory, the Philadelphia Museum in the conservation of easel paintings from the of Art, and the Winterthur Museum. He was also Courtauld Institute of Art. He has worked at various adjunct professor of painting conservation in the institutions, including the Seattle Art Museum, the Winterthur Museum/University of Delaware gradu- Bishop Museum in Honolulu, and the Los Angeles ate program. Richard served as co-chair of the ICOM County Museum of Art. Working Group for Preventive Conservation and co-chair of the ICOM Working Group for Works of PierPaolo Monfardini is a restorer who specializes Art in Transit. He now serves as the chairperson in the conservation and restoration of wooden sup- of the Board of Directors of Heritage Preservation, ports. He trained in Florence and has been profession- the National Institute for Conservation. ally active since 1994 in Bologna, Venice, and Rome. Artworks he has treated include those by Giorgione, Morten Ryhl-Svendsen holds a PhD in conservation Crivelli, Bellini, Paolo and Lorenzo Veneziano, Cima (2007) from the Royal Danish Academy of Fine Arts, da Conegliano, and Giotto. He has published on School of Conservation. Since 1997 he has worked at the care and conservation of wooden supports, and the National Museum of Denmark, where he special- since 2007 he has been an honorary inspector for izes in preventive conservation.

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Mikkel Scharff studied the history of art at the University of Amsterdam (2009). Since 1984 he has University of Copenhagen, Denmark. He received specialized in the painting techniques of sixteenth- a BSc in painting conservation in 1980 and an MSc and seventeenth-century Dutch and Flemish artists. in painting conservation in 1987 from the School of He has published and lectured extensively on subjects Conservation, Royal Danish Academy of Fine Arts, related to this and other issues of importance to the Copenhagen. He has served as a lecturer at the School understanding and keeping of our cultural heritage. of Conservation of the Royal Danish Academy since 1987, and in 1992 he became head of the Department Donald C. Williams began working professionally of Paintings; since 2004 he has also served as the head as an artisan in 1972 and eventually opened his own of the Department of Monumental Art. His areas of furniture restoration shop before gravitating toward specialty are early medieval painting on wood, canvas museum conservation. He studied history, political painting conservation, technical art history, history of science, , and architecture and received the conservation, and analytical photographic techniques. interdisciplinary Technology of Artistic and Historic Objects BA from the University of Delaware while he Laurent Sozzani has been senior paintings conserva- was employed at the Winterthur Museum. Williams tor/restorer at the Rijksmuseum in Amsterdam since joined the Smithsonian’s Museum Conservation 1990. He graduated from the Winterthur Museum/ Institute in 1984 as a furniture conservator, and University of Delaware Program in Art Conservation he directed the graduate Furniture Conservation in 1984. From 1984 to 1985, he worked with Perry Training Program from 1987 to 1994. From 1994 to Huston and Associates in Fort Worth, Texas, and 2001, he served as Education Coordinator, responsible from 1986 to 1989 he was a Fellow in the Paintings for all aspects of education and public programming. Conservation Department of the Metropolitan He is now a senior furniture conservator, with special Museum of Art in New York. interests in coatings and related technology and in the historical materials employed in marquetry. He David Thickett graduated in natural sciences in 1988 is the coauthor of Saving Stuff (2005) and has written and worked in the refractories industry before joining numerous articles and monographs and made hun- the British Museum in 1990, where he specialized in dreds of presentations for both scholarly and general inorganic materials and preventive conservation. He audiences. joined the Collections Conservation Team of English Heritage in 2003. Current research interests include Jonathan Woolston graduated from the Newark the tarnishing of silver, climate control methods School of Violin Making in 1983. Over the past in historic buildings, protection of outdoor metals, twenty-seven years, he has worked in major violin reburial of architectural stone, and panel painting houses in North America—most notably, Jacques microclimate frames. Francais Rare Violins in New York and George Heinl and Company in Toronto. He has taught violin Paul van Duin studied psychology at the University making and restoration in Canada and the United of Utrecht before he began to pursue his interest in Kingdom. Currently he makes violins, violas, and furniture conservation in 1980. He graduated from cellos to order and works at the Royal Academy of the Opleiding Restauratoren in Amsterdam. Then, Music, as part of a dedicated team looking after their from 1984 to 1989, he worked as a furniture conserva- collection of stringed instruments. tor for the British Royal Collection, and since 1989 he has been head of furniture conservation at the Christina Young is a senior lecturer in easel paint- Rijksmuseum in Amsterdam. From 1994 to 2004, he ing conservation, a , and a served as editor of the Proceedings of the International structural conservator at the Courtauld Institute of Annual Symposium on Wood and Furniture Conservation Art, London. She has a BSc in physics and an MSc in Amsterdam, and he has published widely on furni- in applied optics. She gained her PhD in 1996 with ture conservation issues. her dissertation “Measurement of the Biaxial Tensile Properties of Paintings on Canvas,” then joined Tate Jørgen Wadum is keeper of conservation at the as a Leverhulme Research Fellow. Her research inter- Statens Museum for Kunst, Copenhagen. He earned ests include conservation mechanics, noninvasive an MSc in conservation from the Royal Danish testing, conservation of contemporary art, and devel- Academy of Fine Arts, School of Conservation, oping new materials and methods for the structural Copenhagen, and a PhD in art history from the conservation of canvas and panel paintings.

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